A clever show that is mightily enhanced by an equally smart, ingeniously realised production, Matilda is the music theatre smash hit Melbourne fans have been clamoring for while suffering through a seemingly endless run of revivals.

Unlike the low budget production values and inappropriate star casting that plague revivals, Matilda is spectacularly produced and superbly cast. The show looks terrific in the Princess Theatre, and the scale remains grander than the West End and Broadway productions. With not a marquee name in sight, the cast of real actors are all the more believable as actually being the characters they are playing, outsized eccentricities and all.

While enjoying a successful run in Sydney, the adult performers have their comic timing and delivery to perfection. The story inhabits a frenetic world in which the balance between focused commitment and energetic inhibition is a fine one. Matthew Warchus’ direction keeps energy uniformly high while characters are all played in that highly agreeable style in which none of them know they are actually funny.

The humour and precision continue in Peter Darling’s witty, intricate choreography, in which body and head angles are sharp and tightly synchronised. No song ends the same way it begins, with surprise elements continually added as each number builds and twists it way through.

The alphabet sequence of “School Song” remains a highlight of all creative aspects coming together at once. The simple use of swings makes “When I Grow Up” an endearing sequence. Miss Trunchbull’s ribbon twirling in “The Hammer” is a wickedly funny surprise, and the endless invention of gymnastics for her big production number “The Smell of Rebellion” revives the nightmare of Physical Education for those who preferred Drama.

Dennis Kelly’s deceptively slick book juggles social commentary, suspense, sentimentality and science fiction with liberal doses of devilishly black humour. An actual genius drowning in a swirling sea of wannabes, Matilda is thrown a lifeline by her dear teacher Miss Honey. Combatting her appalling parents and insane headmistress, Matilda takes comfort in sharing a developing story with kindly librarian Mrs Phelps.

Exploding out of the proscenium arch and into the auditorium, Rob Howell’s dazzling collage of scrabble tiles and blocks creates an immersive feel. The tile motif is cleverly carried through the entire scenic design, with the abstract designs offset by just enough realistic touches to provide context. Costumes, also by Howell, are like walking children’s book illustrations. Each character has a very distinctive look, which is maintained throughout the show for broad, easy to follow storytelling.

Ingrid Torelli makes a highly auspicious debut as Matilda, performing with completely unruffled composure despite the extended applause and cheers on opening night. Torelli plays Matilda as a serious young person who is intent on blocking out the pain of her parents’ abuse. Avoiding any sort of child cuteness, Torelli gives an intense, disciplined performance that anchors the heightened action that surrounds Matilda.

Given much more to do than the tykes in Oliver! or Annie, the children’s chorus begins the Melbourne in pristine form. The level of confidence as the children sing their hearts out, perform intricate choreography and create unique characters is astounding.

With the benefit of the Sydney season behind them the adult cast have honed their performances to achieve new heights.

James Millar is set to be worshipped and adored as the gleefully malevolent Miss Trunchbull. His menacing whisper set to chill many a young heart, Millar has also perfected the hefty character’s impossibly dainty walk. Millar really pulls out all the stops to reveal the depths of The Trunchbull’s madness in “The Smell of Rebellion,” which rivals “Rose’s Turn” in its manic outpouring of emotion.

Marika Aubrey and Daniel Frederiksen are in brilliant as the hideous Wormwoods. Both performers immeasurably heighten the hilarity of their despicable characters by somehow keeping one foot in reality. Aubrey is hilarious as she lives out Mrs Wormwood’s impossibly garish glamour and crippling conceitedness. Frederiksen makes Mr Wormwood’s sleazy, stupid ruthlessness as believable as it is amusingly repulsive.

Offsetting these hideous creations, Elise McCann and Cle Morgan play the mirage-like wonders Miss Honey, Matilda’s teacher, and Mrs Phelps the librarian. McCann nails 11 o’clock number “My House,” avoiding cloying sweetness as Miss Honey’s inner life is finally revealed. The delightful Morgan mirrors the audience as we hang on every word of Matilda’s addictive stories.

Matilda is the reason we all love musical theatre. To miss it would be to live in your own personal version of Chokey.

Man in Chair has reviewed Matilda in Sydney , Matilda on Broadway and Matilda on the West End.

Photos: James Morgan

The new Broadway revival of revered masterwork Fiddler on the Roof benefits from the insight, imagination and artistry of acclaimed director Bartlett Sher and his proven creative team.

The go-to director for top class revivals, Sher’s Fiddler on the Roof joins his 2015 staging of The King and I as prime reminders of Broadway’s Golden Age. While it is disappointing that the close proximity of the 2014 Australian revival of The King and I gives the sensational 2015 Broadway revival little or no chance of playing down under, the current Australian tour of Fiddler on the Roof holds up well in comparison to its current Broadway counterpart.

Sher’s most ingenious creation for this production is the framing device of a modern man researching his origins. We first see traveller Danny Burstein in a red parka as he reads aloud from a history guidebook. Within moments, the stories have captured his imagination and he becomes Tevye, the fabled milkman.

Storytelling is clear and precise, although the measured pace helps blow the running time out to just a couple of minutes short of three hours.

Throughout the show, Michael Yeargen’s set designs have the look of a stylised museum display. Highly detailed house fronts float overhead and backdrops of the starry midnight sky of “Tevye’s Dream” and the golden landscape behind the wedding fly in as framed canvases in front of the epic whitewashed rear brick wall rather than as full-sized sets. In the final moments, the brick wall flies out, leaving the fleeing residents of Anatevka as frozen exhibits in a museum display as the man in the red parka returns to take a last look at his ancestors.

The combined effect of Catherine Zuber’s costumes, in muted shades of burgundy, brown, grey and black, creates an attractive picture but provide little help for the actors in terms of delineating distinct characters. The fact that the storytelling succeeds as well as it does is due to both the audience’s familiarity with the show and the talent of the actors in bringing the characters to life. The Fiddler himself scores the best costume, outfitted in a chic dark purple silk frock coat.

The grand stage of the Broadway Theatre gives the show plenty of room to breathe. Upstage, a full width set of stairs allows magical entrances from below, both of sets and actors. A wide passerelle in front of the pit brings the characters even closer to the audience.

Fans of the score will be keen to hear music director’s Ted Sperling’s new orchestrations, which are most prevalent in extended dance music for “To Life” and “The Wedding.” The score sounds wonderful as played by the orchestra of 22 musicians.

Wielding the power only to be found in Broadway, the producers were granted permission to re-choreograph the show. The credits now state: “Inspired by the work of Jerome Robins.” International choreographer Hofesh Shechter has brought a unique vocabulary to the dance, but, as the good book says, “If it ain’t broke don’t fix it.” Shechter is blessed with highly talented dancers, particularly in the male cast, but the amount of free form movement is a disappointment given the power of the carefully choreographed work of the original. In this regard, the current Australian production, which features Jerome Robbins choreography (as recreated by Dana Jolly), is superior.

Five-time Tony Award nominee Burstein will surely receive a sixth nomination for his charismatic work as Tevye. Burstein’s genial portrayal makes the character’s moments of sorrow and rage all the more affecting. Impeccably talented actress Jessica Hecht brings her trademark blend of vulnerability and strength to Golde. The pair brings out the full spectrum of their characters while neatly underplaying them, an achievement that Sher instills throughout the cast.

A gorgeous singer and charming stage presence, Samantha Massell is an absolute delight as Hodel. Ben Rappaport plays Perchik as a troubled young man almost blinded by his passion for revolution.

Alexandra Silber is reliably gracious and pure of tune in the relatively thankless role of Tzeitel. Adam Kantor highlights Motel’s anxiety, building to a triumphant introduction into “Miracle of Miracles.”

Alix Korey nails every laugh as Yente the matchmaker. In the cameo role of the not so dearly departed Fruma-Sarah, Jessica Vosk stands out due to the power and expressiveness of her voice as she belts out the vocals.

Fiddler on the Roof was reviewed 8pm Friday 25 March 2016 at Broadway Theatre, New York.

Photos: Joan Marcus

Streamlined to a single act, Roundabout’s new off-Broadway production of 1970s Broadway musical The Robber Bridegroom is 90 effervescent minutes of unabashed fun.

Along with his ingenious work on 2012 Broadway success Peter and the Starcatcher, director Alex Timbers proves himself the go-to director for wildly creative, highly energetic theatre. Sight and sound gags abound, and although their execution is entertaining in its own right, all of the effects are there to serve and propel the story. Choreographer Connor Gallagher adds to the madcap action, but this is clearly Timbers’ show.

The tone is set in advance with music and lights giving a festive feel in the auditorium before curtain. Soon, a troupe of actors and musicians bound down the aisle ready to tell their story.

Playing various banjos, mandolins and guitars, the merry band of five musicians remains in sight for the whole show, impressively playing the whole score with little or no sheet music. The energy and involvement of the musicians is significant contributor to the success of the bluegrass score.

While the nine actors work as an integrated ensemble, Steven Pasquale, who broke countless hearts on Broadway two years ago, is the star attraction and he does not disappoint. Pasquale deftly conveys the “two faces” of brigand Jamie Lockhart, balancing the menacing side of the Robin Hood-like robber with his far more romantic bridegroom side. Pasquale not only sings with a sooth, smoldering tone, but also has an effortless delivery that only further enhance his magnetic charisma.

With the original fairy tale setting updated to Mississippi, the cast plays a range of southern fried characters which are, mostly, as ugly as they are stupid. The central angle of the story is the dual romances between the same pair. Lockhart meets fair Rosamund in the woods and they fall in love. Meanwhile in her wealthy father’s home, they each disguise themselves as they pine, in ignorance, for their sexier counterparts in the woods.

Ahna O’Reilly is as plucky as she is pretty as Rosamund scoring laughs with the contrast between the character’s hearty passion and her guileless naiveté.

In a performance that would have exhausted Nathan Lane in his prime, Leslie Kritzer chews up and spits out all the scenery in sight as her bloodthirsty character Salome pursues her bloodthirsty self-interests with relentless, malevolent glee.

The racy content and devilish pace make The Robber Bridegroom an all too rare adult treat.

The Robber Bridegroom was reviewed 3pm Sunday 27 March 2016 at Laura Pels Theatre, NY where it plays until 29 May 2016.

Photos: Joan Marcus

The bel canto pleasure of L’Elisir d’Amore is significantly enhanced by electric chemistry between its romantic leads.

Having opened the Met’s 2012 season, this new production of L’Elisir d’Amore retains a fresh, airy feel. Although director Bartlett Sher and team usually work to freshen and find new angles on a classic work, their work here is ultra-traditional, almost conservative, and the result is visually gorgeous. At a time of all manner of directional concepts and conceits, the respect for the original text and intention is highly admirable.

That said, Opera Australia’s outback Australia production of The Elixir of Love remains the cleverest version I have seen of this richly melodious, gently comedic opera.

Sher and team’s seem to have deliberately gone back to grass roots, arranging the chorus in clear male/female groupings in lines so straight they evoke D’Oyly Carte. In work such as 2004’s The Light in The Piazza, Sher showed himself more than capable of creating a fascinating world of peopled by distinct characters for the chorus. To swing so far the other way seems a response to brief to be traditional, and thankfully the opera more than holds up to this approach.

Set designer Michael Yeargan set aside his talents for heightened realism and stylised theatricality to take a very painterly approach. The three-dimensional effects achieved are enhanced by a mix of carpentered sets and painted flats. Yeargan beautifully sets the stage for the opera’s biggest hit, as a gradual scene change over several minutes replaces the wedding barn with an open, pastoral setting where Nemorino wanders and sings “Una furtiva lagrima.”

Catherine Zuber varies the palette for her lush costuming, beginning with earthy tones in the field before moving to light blues and greys in the town. The women’s gowns at the wedding are exquisitely hued in the palest of pale pastels. Soldiers of the visiting regiment sport uniforms of the most divine azure blue (which are wonderful to look at but surely completely impractical in battle). A charming top hat represents Adina’s slight tomboyish tendencies. Doctor Dulcamara must be doing a thriving trade in potions as he churns through a number of lavish, dandy outfits.

Maestro Enrique Mazzola, looking striking in red spectacle frames and matching pocket square, leads the Met Orchestra is a sprightly rendition of Donizetti’s highly hummable score. Placed high in the pit, Mazzola works closely with his singers to ensure a perfectly integrated performance.

In a perfect match of singer and character, Vittorio Grigolo is exceptional as the lovelorn Nemorino. His rich tenor voice fills the cavernous Met with seemingly effortless power. Earning shouts of Bravo! from his first aria, “Quanto è bella, quanto è cara,” Grigolo is in excellent form, entirely convincing as a gullible, grinning youth. After drinking too much “elixir,” he appears with extra colour in his cheeks and is comically chased about by the fortune-hunting women of the town. For the sober “Una furtiva lagrima,” Grigolo brings down the house with an expertly controlled performance that allows moments of heartfelt pain to burst through the melancholy.

Blessed with a heart-shaped voice and a voice of gold, Aleksandra Kurzak is entirely delightful as Adina. A charismatic lead, Kurzak works equally well with each of her male counterparts and also clearly conveys the wealthy landowner’s respectful relationship with the workers and villagers. Kurzak sings the role with beautifully sunny tones, her expression coloured by the radiant joy of singing on stage.

Kurzak and Grigolo enjoy palpable chemistry, with Sher’s focus ensuring the tension of the simmering love is clearly felt. When the pair finally has their first passionate kiss, the knees of Grigolo’s Nemorino buckle. As the pair falls to the ground, Nemorino sits slumped against Adina’s bosom, delirious in his happiness.

Adam Plachetka is a tall broad-shouldered Belcore, using his height to convey the character’s all-consuming confidence. Plachetka sings with commanding but unforced power.

Highly experienced bass Alessandro Corbelli is a characterful Dulcamara. Singing with crisp diction, his rapid patter is expertly performed. Corbelli also enjoys string chemistry with Kurzak, and their act two barcarolle is wonderful.

Young soprano Ying Fang provides strong support as the cheerfully friendly Gianetta, her voice ringing out clearly above the chorus.

The current season of L’Elisir d’Amore is a joy, and is an ideal introduction to opera for newcomers.

L’Elisir d’Amore was reviewed 8pm Saturday 26 March 2016 at Metropolitan Opera, NY.

Man in Chair also reviewed the 2012 Live in HD presentation of L’Elisir d’Amore.

Photos: Simon Parris

Utterly charming and splendidly cast, Roundabout Theatre Company’s revival of She Loves Me exemplifies the very reason music theatre fans flock to Broadway.

She Loves Me is sharing the Broadway season with its composers’ big hit Fiddler on the Roof, and yet the two shows could not be more different. A sugar-spun confection of pure entertainment She Loves Me is actually different to a great many other Broadway musicals in that is essentially a chamber musical with a strong focus on its lead characters.

The few featured moments for the ensemble are heavily stylised, with the centerpiece being the lurid action of “A Romantic Atmosphere” at the Café Imperiale. Act Two’s increasingly frenetic “Twelve Days to Christmas” showcases the company one last time before each of the lead characters has their subplots tied in neat bows. The finale of the show is the denouement of the central romance rather than a splashy song and dance number.

Rarely seen in Australia, the last professional season of She Loves Me was in the very early days of The Production Company, starring Lisa McCune and Philip Gould. As a piece of nostalgia about the retail trade, the work could be seen as a forerunner to the recent Australian hit Ladies in Black.

The well-worn plot has seen many incarnations, including popular 1988 movie You’ve Got Mail. A pair of co-workers bicker and crackle, not knowing they are each others’ secret pen pal. Director Scott Ellis supports the old fashioned nature of the tale by retaining the original setting of Budapest, 1934 (although the characters all come across as very American). Continuing the old world vibe, Ellis presents the comedy in a sincere manner rather than with a knowing wink.

The period allows set designer David Rockwell to create an attractively sumptuous world. Initially part of the streetscape, the set for Maraczek’s Parfumerie opens like a giant doll’s house to reveal the ornate interior, before opening and rotating to portray the back stockroom. After a dramatic incident turns the back cyclorama from sky blue to blood red, the action shifts to the plush crimson interior of the Café Imperiale.

A newcomer to golden age musical revivals, costume designer Jeff Mahshie demonstrates a wonderful eye for vivid colour and delectable patterned fabrics. Mahshie and Rockwell have clearly worked hammer in glove such is the integration of the colour palette all aspects of design.

Situated overhead in two boxes flanking the stage, the orchestra of 14 musicians works under the baton of legendary music director Paul Gemignani. Jerry Bock’s score, written in 1963, is pleasingly sophisticated, featuring the sort of witty use of musical motifs still very popular today. A clever example comes when “Tonight at Eight” when Georg knocks over a music box and its melody is woven deftly into that moment of the orchestration. Another aspect where the score is ahead of its time is the inclusion of several extended musical scenes rather than a score full of self-contained songs. Facilitating this integration, Sheldon Harnick’s lyrics blend seamlessly with Joe Masteroff’s book.

Unbelievably, Laura Benanti has not performed in a Broadway musical for some five years. She is set to be adored as darling shop clerk Amalia Balash, a role that suits her comic sparkle, simmering vulnerability and golden soprano perfectly.

Zachary Levi proves a terrific music theatre leading man as the well-intentioned Georg, delivering nifty comedy, snappy dancing and warm vocals. His ebbulient rendition of the “She Loves Me” is the rare example of the ballad as a showstopper. Levi and Benanti make an attractive pair, and enjoy strong chemistry.

Broadway (and television) goddess Jane Krakowski eschews her trademark diva role for the wholesome Ilona. Whether it impressing with the splits or selling a song, Krakowski is in fine from and is fabulous to watch. Her performance of act two’s “A Trip to the Library” is practically an entire musical in its own right.

Gavin Creel slithers about as lothario Steven Kodaly, avoiding a one-dimensional characterisation with layers of charm and panache.

Michael McGrath delivers another beleaguered good guy, demonstrating his expert touch with comic delivery. Relative newcomer Nicholas Barasch gives an endearing, fresh performance as the earnest delivery-boy-come-clerk Arpad Laszlo.

A limited run, She Loves Me is the musical comedy show to catch this Spring on Broadway.

She Loves Me was reviewed 2pm Saturday 26 March 2016 at Studio 54, NY where it plays until 12 June 2016.

Photos: Joan Marcus

Timely staging, well judged writing and powerful performances distinguish brand new teen spirit musical Dear Evan Hansen.

First, a quick note: the performance attended was only the third preview of this off-Broadway season of Dear Evan Hansen. The show premiered last year at Arena Stage, Washington DC. Although there is a chance of some tweaks during previews, the show and cast appear to be in excellent shape.

Dear Evan Hansen is the rarest of all stage creatures: an entirely original musical. Steven Levenson’s book speaks to the outsider in us all, addressing the pecking order that exists even at the very bottom of the high school popularity stakes.

Levenson expertly captures the distinct combination of awkwardness and intelligence that characterises teenage conversation. Director Michael Greif brings this world to life with honest, natural performances from the cast of eight talented actors. The characters and situations are so real that (for just about the first time ever) I actually felt that it was slightly odd when people started to sing. This is not meant as a criticism, but rather a reflection on the strength of the book and the believability of the performances.

Many musicals have been updated to give characters mobile phones or to displays tweets on stage, but this show fundamentally incorporates technology and social media, in that these aspects are crucial to the story. Scenic design (David Korins) and projection design (Peter Nigrini) create a stage collage of social media images, which are occasionally animated when increased online activity is prevalent. The most successful use of these images is when they show that someone can be surround by “friends,” “likes” and “shares” and still be alone and unheard.

Evan Hansen lives with his anxiously overprotective, yet frequently unavailable, mother. The title of the show refers to the motivational letters Evan’s counselor insists he writes to himself. The direction of the story takes a surprising dramatic turn early on when one such letter falls into the hands of Connor, the stoner brother of Zoe, Evan’s secret crush.

A tragedy (no spoilers here) leads to a well-intentioned and yet unfortunate web of deceit that deeply touches the affected family and binds the school students together in a call to action. Facebook, Twitter, Skype, YouTube and Crowdfunding all play a role as the situation snowballs to viral levels.

The score, by fast rising talents Benj Pasek and Justin Paul, is instantly accessible, the light rock sound tempered by use of strings in the tight band of eight musicians. With so much story telling in the book scenes, the songs are mainly used as a chance to hear and reflect upon the characters’ inner voices. Fortunately, this is a show where the ending is as well conceived as the initial exposition, and the final couple of songs are particularly moving.

Ben Platt (of Pitch Perfect fame) gives an extraordinary performance as Evan, charting a journey that moves from crippling self doubt through blossoming self belief to accomplished young adulthood. As well as portraying highly identifiable character traits, Platt wins audience affection with humour before breaking hearts with his no-holds-bar immersion in Evan’s grief. Platt sobs real tears, runny nose and all.

Rachel Bay Jones creates a quirky characterisation of Evan’s Mom Heidi, rising well above the simple stereotype that could have easily prevailed. Jones matches Platt’s talent for tears, and has a powerful presence in the finale.

As Zoe and Connor’s parents, John Dossett (Larry) and Jennifer Laura Thompson (Cynthia) mine rich territory and achieve nuanced performances.

Laura Dreyfuss brings out all manner of layers in what could easily have been a one-note role of the pretty, popular girl.

Mike Faist is scarily believable as surly teen Connor.

As Jared, the dork who sees himself as anything but uncool, Will Roland provides many welcome laughs to offset the heavy drama. Kristolyn Lloyd brings a direct, sneakily humorous manner to precociously ambitious schoolgirl Alana.

The success of Greif’s skill and influence in shaping and molding these performances and characters cannot be overstated.

The presence of Broadway veterans Greif (Rent, Next to Normal), Dossett (Gypsy, Newsies), Jones (Pippin) and Thompson (Urinetown, Nice Work If you Can Get It) seems to indicate the show has an excellent chance of transferring to the main stem. A subsequent OBC recording would be most welcome, and Platt’s performance is more than ripe for well-deserved Tony attention. But first, this off-Broadway season must unfold…

Dear Evan Hansen was seen at a preview performance 7pm Sunday 27 March 2016 at Second Stage Theatre, Tony Kiser Theatre. Opening night is 1 May 2016.

Photos: Margot Schulman (Note: photos are from the 2015 season at Arena Stage, Washington DC)

Met Opera’s stunning production for their premiere season of Roberto Devereux boasts four world-class singers in the leading roles.

Opera cognoscenti will already be aware that this production completes acclaimed American soprano Sondra Radvanovsky’s goal to portray the three major Donizetti queens in one Met Opera season. An extraordinary vocalist and excellent actress, Radvanovsky triumphs in the wonderful showcase of a role that is Queen Elizabeth.

Sir David McVicar’s name is a virtual guarantee of a sumptuous, intelligent production. In this post-Zeffirelli period at the Met, the production values of Roberto Devereux provide a crowd-pleasing level of spectacle. Combined with the stellar cast, this is what coming to the Met is all about.

Being director and set designer allows McVicar to realise an integrated concept for the staging. As with his epic Don Giovanni for Opera Australia, the opera takes place on one massive set, despite the mention of various locations in the libretto.

The grand black and gold setting is visible as the audience enters, with an ominous sarcophagus centre stage. As mourners gather during the overture, the strains of “God Save the Queen” seem ironic when the Queen’s body appears to be on display before her funeral. The rear wall glides forward and the sarcophagus is swept away. In an interesting move, McVicar has the ladies and gentleman of the court stay on side stage all night, watching and gossiping during even the most intimate of scenes. It would seem that royalty has always lived in the public eye.

Entering in a delectable gown of muted emerald silk, mezzo-soprano Elīna Garanča, as Sarah, exhibits the quality of singing that will be a hallmark of the evening. The increasingly mature tone of her voice streaked with the sorrow of unrequited love, Garanča sings Sarah’s melancholic aria “All’afflitto è dolce il pianto” with lovely control.

Costume Designer Moritz Junge delivers gowns that are as glossy as the setting, tweaking the period look with a few modern angles. Queen Elizabeth’s virginal character is represented in her pale, incredibly lavish gown when Radvanovsky first enters.

The vocal fireworks commence immediately as Elizabeth furiously seeks the woman who has Robert’s attention from her, not knowing her friend Sarah is the offender. With the Queen in her late 60s, Radvanovsky gives her a slight hobbling limp and uses a smart red walking stick.

The four characters interact in a series of duets (and one trio), with each combination equally enjoyable in this company.

With two women in love with Robert, it is perhaps appropriate that tenor Matthew Polenzani looks particularly handsome, with light beard and sharp hair cut. Sparks fly in his act one duet with Radvanovsky, “Nascondi, frena i palpiti” as the Queen quarrels jealously with the object of her affection.

As Duke of Nottingham, baritone Marius Kwiecien completes the quartet of stellar lead singers. Following the arc of the wronged husband, Kwiecien demonstrates his strength and flexibility as an actor, singing with heroically optimistic tones in act one, before adopting a darker, vengeful feel in act three.

Alone together, Robert and Sarah sing bittersweet duet “Dacchè tornasti, ahi misera,” with Polenzani and Garanča finishing exquisitely with heart-melting piano, a capella phrases.

The heart of the drama occurs at the act two finale, as Elizabeth admonishes Robert for accepting a scarf from his lover, an object that the Duke recognises as coming from his wife Sarah. The trio builds to a peak as the chorus joins the final moments.

Act three opens with another beautiful duet as the Duke angrily confronts his wife Sarah in “Non sai che un nume vindice.”

Alone in his prison cell, Polenzani gives a stirring, carefully calibrated performance of Robert’s big aria “Come uno spirto angelico,” which is met with great acclaim from the audience. Unfortunately, at this performance, Polenzani’s voice tires somewhat at the end of the subsequent short aria, “Bagnato il sen di lagrime,” producing some strained notes. It remains a wonderful performance overall.

The spotlight returns to Radvanovsky for the final scene. In her madness, the Queen removes her robe and wig, looking like a ghastly shadow of her former glory. Radvanovsky’s commitment remains strongly focused until the last, the Queen’s delirium providing a final showcase for the untiring suppleness of her voice.

Maestro Maurizio Benini demonstrates his special flair with the bel canto repertoire, presiding over a seamless performance of Donizetti’s thoroughly enjoyable score.

Roberto Devereux is a highpoint at this point of the Met’s 2015-2016 season. Attendees will see every dollar of their ticket price on stage.

Roberto Devereux was reviewed 7.30pm Monday 28 March 2016 at Met Opera, NY.

Roberto Devereux will screen as part of the Met Live in HD series on Saturday 16 April 2016. (Screenings in Australia begin 2 July 2016, details HERE)

Photos: Simon Parris

Refreshingly different and entirely unpretentious, Bright Star has an original story, an authentic Southern sound and a cohesive blend of creative elements.

Wearing its heart on its sleeve right from the opening ballad “If You Knew My Story,” Bright Star charts the tale of successful editor Alice Murphy, illuminating the events that put the steel in this fair magnolia.

Carmen Cusack’s winning lead performance as southern belle Alice is all the more impressive given that she is an English actress making her Broadway debut.

Musicals have long been claimed as an American art form, and for once this claim is well supported, with a distinctly American bluegrass and country feel to the score. The music has a gentler vibe than fellow current bluegrass show The Robber Bridegroom, with mellow harmonies and less frenetic accompaniment.

The score is by Edie Brickell and Steve Martin, who devised the story together. Martin’s book contains many a welcome chuckle. Rob Berman’s music direction and vocal arrangements give the show the hint of a Broadway sound while maintaining the country feel.

The plot is a slow burn. Mainly set in North Carolina in the mid-1940s, our focus jumps from Alice’s opening number to a handsome young soldier named Billy who is returning safely home from war. With sweetheart Margo’s encouragement, Billy goes to the Asheville Southern Journal to have his short stories published, hence bringing Alice into the plot.

In a clever visual sequence, we see Alice turn into her younger self, as the story flashes back 20 years during the appropriately titled “Way Back In The Day.” Alice’s romance with Jimmy Ray is cut short by his narrow-minded father Mayor Dobbs, who ends act one with a particularly brutal and heartless deed.

Anyone who watches soap operas (and I watch four per weekday) will see where the story is going, but watching the elements fall into place is satisfying. Slow patches in the story and helped along by terrific use of the ensemble, who are in three quarters of the songs. Josh Rhodes’ choreography features some nifty swing dancing.

If events become a little swift and neat for the Happy Ending, the characters and audience deserve it after the drama of the previous two and a half hours.

Highly experienced director Walter Bobbie shows a supremely assured touch in juggling any number of elements simultaneously. Members of the ensemble sing, dance and act, and also rotate sets and move props. With constant movement of flies and changes of state of lights, not to mention changes of costumes and wigs to represent the two time periods, the whole show is choreographed to run as a precise, integrated unit.

Eugene Lee’s scenic design is of the very modern variety where a few simple, carefully selected elements represent the various settings. In a cute touch, the key element of a train is included in the form of a nifty model train running on an overhead track.

Jane Greenwood brings more than fifty years’ experience to the decidedly un-showy costumes, which are subtly attractive and suitably realistic.

Cusack is sure to gain well-deserved accolades and attention for her wonderful leading performance.

Paul Alexander Nolan (previously seen in Jesus Christ Superstar and Doctor Zhivago) gives a restrained performance as Alice’s love, Jimmy Ray, and is a strong partner for Cusack.

A.J Shively and Hannah Elless are appealing as young romantic leads Billy and Margo.

Emily Padgett provides welcome energy and effervescence as Lucy. The stock sitcom character of the camp co-worker may be a bit forward thinking for the 1940s, but Jeff Blumenkrantz delivers Daryl’s withering putdowns and droll asides with devilish flair.

Broadway veterans, including, but not limited to, Dee Hoty, Michael Mulheren and Michael X. Martin, provide unwavering support.

Without a cynical note to be heard, Bright Star is a warm and fuzzy, rose-coloured show for those who like to leave theatre with a smile.

Bright Star was reviewed 7pm Tuesday 29 March 2016 at Cort Theatre, New York.

Photos: Joan Marcus

In a splendidly sung and acted performance, revered historical musical 1776 is given the Hamilton multi-racial casting treatment at New York City Center Encores!.

Melbourne institution The Production Company began from the inspiration of City Center Encores!, but its growth in length of seasons and sophistication of presentations appear to have left Encores! behind in the dust. The cast of 1776 wears modern dress and performs all scenes on the same basic set of chairs. Furthermore, actors carry scripts and use them for their dialogue in some scenes.

The gimmick of colour-blind casting works to a fair degree, but lacks some power simply because it so obviously derivative of the innovation of Hamilton. There is certainly merit, however, in presenting the 1969 work at this time as it is a strong companion piece to Hamilton, fleshing out many of Hamilton’s key character’s and providing details to the event that kick starts Hamilton’s narrative.

Although Peter Stone’s book is very wordy for a concert (one scene runs 30 minutes without a song), the chance to hear Sherman Edwards’ marvelous score played by the 29 piece Encores! Orchestra and sung by such fine voices is a definite attraction. Top marks to music director Ben Whiteley for his excellent preparation of musicians and singers alike.

The plot focuses on a sweltering summer in Philadelphia where the men of Congress debate the writing and signing of the Declaration of Independence. For a story whose outcome is known, Stone generates plenty of tension and conflict.

Without adding a word, director Garry Hynes makes some strong points about the current efficacy and pace of US Congress. The 26 characters of the ensemble company are clearly established, and the moments of character-based humour land many appreciative laughs.

Edwards’ score is a terrific collection of melodies and styles, with his songs breaking up the action in a entertaining manner and providing illuminating aspects of characters. Songs range from anthem (“For God’s Sake, John, Sit Down” to patter “But, Mr Adams” to comic “The Lees of Old Virginia” to highly romantic (“Till Then,” “Yours, Yours, Yours”) to ballads (“Momma, Look Sharp”).

As bombastic chief protagonist John Adams, Santino Fontana (Cinderella) is in superb voice, commanding the stage in numbers such as “Piddle, Twiddle” and “Is Anybody There?.”

Fontana has the chance to show Adams’ tender side in correspondences with his wife Abigail Adams. These highly romantic duets are beautifully sung by Fontana and Christiane Noll. Noll sports the oddest costume choice of the night, wearing outdoorsy jeans, plaid shirt and vest, an ensemble that seems at odds with her feminine, conservative character.

In perhaps the most traditional piece of casting of the night, John Larroquette plays respected elder Benjamin Franklin with gentle authority.

Jubilant Sykes lives up to his christian name with a lively rendition of Richard Henry Lee’s “The Lees of Old Virginia.”

John Behlmann gives something of a breakout performance as Thomas Jefferson, a role that slowly comes to the fore as Jefferson’s involvement in writing the declaration of independence comes to light. As a virile young man who misses his wife, Behlmann is very convincing. Nikki Renée Daniels takes a brief break from her current role in The Book of Mormon to play Martha Jefferson, singing sweetly of her love for her husband in the gorgeous romantic ballad “He Plays The Violin.”

Bryce Pinkham (A Gentlemen’s Guide to Love and Murder) plays unswerving independence holdout John Dickinson. He expertly leads the entertaining Conservative company number “Cool, Cool Fastidious Men” with great flair. This number showcases some of Chris Bailey’s niftiest choreography.

Act one seems over after this showstopper but Edwards has one more surprise as the court courier sings “Momma, Look Sharp,” a deeply moving ballad about life and death on the battlefield.

Alexander Gemignani (Violet) lands the strongest solo number of the evening, as Edward Rutledge of South Carolina vehemently argues that slavery benefits both North and South in “Molasses to Rum.”

Characterful support comes from André de Shields as hard drinking Rhode Island delegate Stephen Hopkins.

1776 was reviewed on its opening night, 30 March 2016. It plays at City Center until 3 April 2016.

Photos: Joan Marcus

Given the success of the novel and film on which it is based, American Psycho the Musical should be a tense and amusing satire thriller, so the limp, unaffecting result is a disappointment.

*check back later for images

Reading back over my review for the London season of American Psycho, I found the show to be exciting and fresh. The music, book and production have barely changed in the intervening two years, leading to the question of what has gone wrong.

The London season was off-West End, way off-West End at the trendy Almeida Theatre in Islington. The funky, immersive space put the audience in a frame of mind that is not suggested by the bright lights, and high prices, of Broadway.

Playing Wall Street investment-banker-come-serial-killer Patrick Bateman, London’s Matt Smith had a wicked smirk and devilish gleam that brought the audience into his world where he then simultaneously shocked them, thrilled them and laughed with them.

Broadway’s Benjamin Walker looks the part, with an even more spectacular buff, hairless Ken doll body. To be fair, it should be mentioned that the show is still technically in previews, but Walker does not have the magic connection with the audience. Subsequently, there are no shocks at what Patrick does, little or no laughs at his dialogue and no tension at all about whether he will get caught. It is a massive role and Walker may take time to develop the confidence required.

On a similar note, the ensemble cast members all seem to have been cast for their looks. The muscular, athletic male and females physiques are frequently put on display, but the interchangeable performers are not capable of any sort of quirky or interesting characterisation in their brief speaking roles.

Worse, and this is the fault of the creative team, the use of the ensemble in songs is on the same pointless level as Ghost the Musical, in that the performers are just bodies moving jerkily in place as if in a music video clip.

Katrina Lindsay’s costumes are slick and glossy, but the 1980s aesthetic, and related humour, is not taken anywhere near far enough. The clean white walls and twin revolves of Es Devlin’s scenic design suit the clinical vibe, but the lack of depiction of most of the actual locations makes the story seem like it is happening in a vacuum, further reducing the stakes.

Two actresses who acquit themselves with class are Alice Ripley, in the camp role of Mrs Bateman, and Jennifer Damiano, who brings a quiet presence to the role of Patrick’s burgeoning assistant Jean. Amidst the chaos, Damiano nails the 11 o’clock ballad “A Girl Before,” finishing her arc as the one character to earn any audience affection.

Duncan Sheik’s score includes a smattering of 1980s pop hits that had a high profile and significance in the 2000 movie. The original songs, which make up the bulk of the score, are often atmospheric but mostly forgettable.

The recognisable title, eye candy cast and pop music score may attract some threatregoers. Ultimately, even the least discerning patrons are likely to see through a hollow product, especially at Broadway prices.

American Psycho was reviewed 8pm Thursday 31 March 2016 at Schoenfeld Theatre, New York where it opens 21 April 2016

*Check back later for images

Andrew Lloyd Webber is back on top with School of Rock the Musical, a bona fide Broadway hit.

Webber has returned to his rock roots with School of Rock, penning a score full of instantly catchy rock tunes. Even the school anthem is highly hummable. Writing his own orchestrations, as ever, Webber’s work here brings to mind the great guitar riffs in Jesus Christ Superstar. Always with an ear for the pastiche, he cleverly works in some of music’s best-known rock phrases, such as “Satisfaction,” as well heavily sampling Mozart’s “Queen of the Night” aria for the operatic headmistress (played by Webber favourite Sierra Boggess).

Wisely surrounding himself with the best, Webber has lyrics by Glenn Slater (Sister Act, The Little Mermaid) and book by the masterful Julian Fellowes (Downton Abbey, Mary Poppins). Slater proves a terrific partner, accommodating Webber’s penchant for reprising melodies by providing lyrics that provide a twist, or at least a new spin, when a tune is repeated.

Fellowes masterfully sets up any number of threads that all lead to terrific pay-offs at the end of the night. Who doesn’t love to see the little quiet girl finally sing, or the stuffy headmistress finally let down her hair, or the sappy boyfriend finally speak up himself, or the busy corporate Dad finally tell his son he is proud of him.

The writing team has come up with some sensational numbers, such as the first time Dewey assigns each of the kids their role, “You’re in the Band,” as well as the band’s songs “Stick it to the Man” and “School of Rock.” The overlapping children’s home stories make “If Only You Would Listen” the sort of perfect, concise sequence only possible in music theatre.

Further members of the creative team include prolific Broadway designer Anna Louizos, prolific Broadway lighting designer Natasha Katz and prolific Broadway sound designer Mick Potter. Louizos’ scenic design is quite spectacular, and her costumes are witty and colourful. Katz’s lighting frequently provides the essential rock concert vibe, with particularly beautiful framing for the rock stage of the finale. The large scale of production means School of Rock would be one of the few musicals that could actually look good in Melbourne’s mighty Regent Theatre.

Presiding over this hefty undertaking is highly experienced director Laurence O’Connor, who has honed his craft on many a mega-musical. O’Connor generates incredibly high energy levels, and has clearly worked with each member of the creative team to achieve seamless transitions for a highly cinematic flow.

Scanning the Playbill for which children’s cast was on at this performance, it was a surprise to find that all the roles are single-cast. The level of talent of these young performers cannot be overstated. The singing, dancing and acting required are massive, but when live playing of musical instruments is included (for around half the children) the combination is incredible. The joint work of Fellowes and O’Connor, along with the talent of each young performer, means that a large number of individual characters are created within the 13 children. In this regard, the child characters are certainly more rounded than most of the adults, but, then again, School of Rock is the children’s story.

The lead role of schlubby faux-substitute teacher Dewey was played at this performance by Jonathan Wagner. The vocal demands of the role are extraordinary, and Wagner soars through song after song, even providing plenty of sound acoustically at one point (during one of several sound faults throughout the evening). For a role that has a catalogue of highlights, the pinnacle must be the sequence where Dewey first explains to the class the song he wrote, playing all instruments and singing all vocals. Wagner is sensational overall, nailing the music, the energy, the humour and the romance, all the while keeping the audience totally on his side all night.

Boggess is rather too young for the role of Principal Mullins, but has the chance to make some use of her crystalline soprano voice.

School of Rock serves the dual admirable purposes of attracting young people to learning musical instruments and attracting young people (and, indeed, people of all ages) to Broadway. Long may it reign.

School of Rock was reviewed 7.30pm Friday 1 April 2016 at Winter Garden Theatre, New York.

Photos: Matthew Murphy

Handsomely produced, Tuck Everlasting is family friendly fare of the gentle, old-fashioned variety.

Based on 1975 American children’s novel Tuck Everlasting, by Natalie Babbitt, the scenario is a cross between Brigadoon and Pollyanna. The fantasy elements suit the musical stage and the story has moments of intrigue, but the overall plot is rather thin, lacking in tension and drive. The wholesome values may attract conservative families, but without the edge of, say, Matilda or School of Rock, producers may have underestimated the sophistication of modern youth audiences.

In a highly auspicious Broadway debut, 11-year-old Sarah Charles Lewis plays 11-year-old Winnie Foster, a precocious youth who is frustrated by the constraints of the year of mourning following the untimely death of her father. Coming across the mysterious Tuck family in the woods, Winnie slowly becomes involved in their lives, eventually learning their secret.

The cast is enhanced by Broadway veterans Carolee Carmello, as matriarch Mae Tuck, and Terrence Mann, as the fiendish Man in the Yellow Suit.

Entirely convincing as a sweet seventeen-year-old boy, thirty-year-old actor Andrew Keenan-Bolger seems to have imbibed water from his own real-life fountain of youth. Given their age differences, Keenan-Bolger gives a very sensitive performance in terms of his character, Jesse Tuck, developing an attraction to young Winnie.

The relatively slender premise of the novel is expanded upon, mostly successfully, by book writers Claudia Shear and Time Federle. Chris Miller’s score is very pleasant to hear but leaves no particularly memorable tunes. Given that many of the songs are there for charm rather than plot, Nathan Tysen’s lyrics convey many a lovely sentiment.

Scenic design Walt Spangler plays to the magical elements of the story. Gregg Barnes’ attractive costumes are based in reality, with the addition of theatrical flourishes of colour.

With three mega-hit shows currently running on Broadway, director/choreographer Casey Nicholaw is as much as star attraction as any movie star or Broadway legend. Unfortunately, Tuck Everlasting proves not to be the ideal match for Nicholaw’s talents, having none of the raucous comedy or effervescent company work of The Book of Mormon, Aladdin or Something Rotten. In shaping the show towards his strengths, Nicholaw actually does the piece a disservice. In song after song, dancers distractingly come on stage as fairies or carnival folk and dance around the lead characters.

The clear highlight of the show comes in the final ten minutes. In the grand tradition of the great Agnes de Mille, the future of Winnie, and other characters around her, is portrayed in an extended, totally wordless ballet sequence. In setting this absolutely beautiful dance piece, Nicholaw utterly redeems any earlier excesses, leaving the audience with a truly moving memory of the story they have just seen.

Tuck Everlasting was reviewed 2pm Saturday 2 April 2016 at Broadhurst Theatre, New York where it opens 26 April 2016.

Photos: Greg Mooney (Alliance Theatre 2015 season)

Destined to be a smash hit, Waitress is just about the most fun an adult audience can have at the theatre.

Based on the 2007 movie written by Adrienne Shelly, Waitress focuses on the struggles and dreams of unhappily pregnant waitress Jenna. Working with her two best friends Becky and Dawn at Joe’s Diner, Jenna creates delectable, imaginatively titled pies. She craves the freedom that winning the state pie contest would bring.

The success of the new musical can primarily be attributed to three supremely talented women working at the height of their powers.

After delivering three acclaimed revivals to Broadway, director Diane Paulus finally helms a new work, and her class, vision and imagination are stamped all over the project. In a show filled with heart, a set of highly engaging characters is clearly established with swift, clean strokes. Paulus deftly balances daffy humour and moving pathos, achieving a shared, easygoing vibe between leads, ensemble and band members alike.

Revered songwriter Sara Bareilles proves a natural fit for music theatre, penning a beautiful series of songs from the heart. Far from having the usual Broadway belting sound, the gentle songs are nonetheless theatrical and sweetly hummable. For good measure, there are a couple of comic beauties in there as well.

Tony Award winner Jessie Mueller has quickly become a major drawcard, and to see her originate a role so perfectly suited to her talents is a joy and is sure to win her further legions of fans. Mueller softly croons in the Bareilles style, singing with incredible sweetness. Nailing the massive role, Mueller is particularly successful at conveying the jangling nerves that relentlessly eat away at Jenna from the inside.

Mueller enjoys terrific chemistry with her co-star Drew Gehling, who plays Jenna’s new gynecologist, Dr Pomatter. Kissing on stage can be a corny affair, but Mueller and Gehling create wild sparks of lightning portraying the erupting passion of the pair of lovers. Gehling also impresses with a distinctive high singing voice that he controls exquisitely.

The cool band of six musicians is mostly positioned in clear sight on stage, as if they are actually in the diner. Between songs, the musicians sometimes sit in booths, portraying customers having a coffee.

Keala Settle confidently plays staunch survivor Becky and Kimiko Glenn is a hoot as blossoming lover Dawn. While the trio of waitresses begins the show unlucky in love, the act two sequence showing each with their partner is outrageously hilarious.

Dawn’s new love Ogie is played by comic actor extraordinaire Christopher Fitzgerald. Combining magic, line dancing, opera, gymnastics and more, Ogie’s profession of love, “Never Getting Rid of Me” stops the show so thoroughly that the main plot practically needs a reboot immediately afterwards.

Rising star Nick Cordero plays the thankless role of Jenna’s lowlife husband Earl, a character that, like the others, is kept well clear of simplistic caricature.

Veteran character actor Dakin Matthews rounds out the lead cast as cantankerous customer, and business owner, Joe.

Waitress is a unique piece of music theatre and a special experience to enjoy. The cast recording is eagerly anticipated.

Waitress was reviewed 8pm Saturday 2 April 2016 at Brooks Atkinson Theatre, New York where it opens 24 April 2016.

Photos: Jeremy Daniel (note: American Repertory Theatre 2015 season)

New crowd pleaser Disaster! on Broadway is the very definition of a guilty pleasure – it’s trashy, garish and obvious but you dare not look away for a moment lest you miss the next camptastic sight gag, disco tune or costume change.

Versatile, multi-talented Broadway mainstay Seth Rudetsky must keep Olivia Pope-style dossiers on Broadway idols. How else to explain the stellar lineup he has assembled for the premiere Broadway season of his off-Broadway spoof Disaster!. This madcap sendup of 1970s disaster flicks features a jukebox full of 1970s pop hits you thought you might never hear again and costume racks full of 1970s outfits you thought you might never see again.

Co-written by Rudetsky and Jack Plotnick, the show features the kind of big cast of characters in trauma popularised by Irwin Allen. The fast pace and mixture of comedy styles help the show work, but the biggest asset is the cast, particularly their rock solid vocals. The show would not be anywhere near as funny and slick if the cast was as cheap and cheesy as the cavalcade of cheesy stunts and effects.

Roger Bart is the selfish owner of the floating casino Barracuda. Kerry Butler plays a reporter who may or may not reunite with her great love, Adam Pascal. Kevin Chamberlin and the inimitable Faith Prince are a suburban couple seeking escapist fun. Rachel York sports a Farrah Fawcett wig as a vapid casino nightclub singer accompanied by her twins, both ingeniously played by Baylee Littrell.

Towering above the achievements of these established stars is Jennifer Simard as Sister Mary Downy. A former gambler, Sister now seeks to save gamblers with her pamphlets and her meek rendition of the Sister Janet Mead “Our Father.” Simard’s deadpan delivery and physical comedy are hilarious, earning her roars of laughter for every line and every move.

Rudetsky and Plotnick have not only scoured 1970s music catalogues for hits, but have also manipulated the dialogue and even character names so that the song excerpts fit in exactly with their original lyrics. A great deal of the fun is wondering which song is going to pop up next.

It is difficult to pick highlights, but the sequence where Faith Prince leads a tap dance to send a message in Morse code is a real winner.

Enhancing the visual hijinks is master costumier William Ivey Long, who shows no fear in re-visiting every hideous look the 1970s inflicted upon us. The chorus is well served, sporting new outfits practically every time they step on stage. Raquel Welch would have been proud to wear Rachel York’s ever-diminishing dress.

Set aside good taste, musical snobbery and pre-judged notions, and sit back and enjoy Disaster! on Broadway.

Disaster! on Broadway was reviewed 7.30pm Sunday 3 April 2016 at Nederlander Theatre, New York.

Photos: Jeremy Daniel Photography

Roundabout Theatre Company marks their 50^th year with a superbly realised new revival of Eugene O’Neill’s Pulitzer Prize-winning play Long Day’s Journey Into Night, a true classic of the American theatre.

A completely traditional production (as one would fully expect), the handsome staging, stellar casting and exquisite direction combine for an unforgettable experience. This is the only other play I have seen on Broadway to equal the quality of 2012’s Death of a Salesman (starring Phillip Seymour Hoffmann, Linda Emond and Andrew Garfield).

It should be mentioned that the session attended was the first preview, and yet the cast worked together as if they had been playing for months. If the actors show further improvement during the run, the level of excellence to be achieved is quite unimaginable.

Director Jonathan Kent, responsible for last year’s West End smash hit revival of Gypsy, shows similar insight and intelligence in mining O’Neill’s well-known text for layers of subtext and nuanced meaning. Working in the much the same way as a conductor of classical music, Kent charts the rhythm, dynamics and energy of the Tyrone family’s bête noir of a long day.

Although today’s audience have been trained into short attention spans by YouTube and commercial breaks, the 225 minutes of Long Day’s Journey Into Night (including 15 minute interval) can be enjoyed, admired and absorbed with ease in the intimacy and comfort of the American Airlines Theatre.

Designed in the washed out blues and greys of an aging coastal setting, scene changes are covered by the swipe of a filmy curtain hurtling along its track. Tom Pye’s set design houses the living room and rear dining room of the Tyrone seaside home under an ominously sloping ceiling. On stage right, an ornate dark wooden staircase, with decorative leadlight window, ascends to a murky darkness overhead. As night takes hold, a thick fog obscures the view of the surrounding landscape.

The four lead actors are perfectly cast as a family, not only sharing the right look but also conveying the intimacy and shorthand of family members.

Michael Shannon looks very much the tall, stronger, older brother. James Tyrone Jr has damaged his looks, and prospects, through drink, an ongoing situation that Shannon handles expertly. His drunken state is entirely convincing, right down to the character’s pathetic act of passing out on the living room floor. Shannon conveys James’ stifled affection for his afflicted younger brother, expressions of which were not freely expressed in the repressed era of 1912.

John Gallagher, Jr appears so thin and pale as to actually be ill with consumption (tuberculosis). Capturing the vulnerability and sweetness of younger brother Edmund Tyrone, Gallagher becomes as dear to the audience as he is to his family. Arguably the most heartbreaking moment comes when Edmund returns home from the doctor’s with his condition confirmed. He rushes in, just wanting to tell his mother the news, but she is lost in the fog of morphine, physically there but spiritually unavailable to him. Gallagher’s portrayal of Edmund’s confused heartbreak here is devastating.

Gabriel Byrne expertly shows the balance that James Tyrone achieves between the crushing weight of the disintegration of his family and the fleeting moments of denial the character is able to achieve. James is so miserly that he turns away when taking out a note so that his sons cannot see how much money he is carrying. With a beautifully underplayed acting style, Byrne paints James as a helplessly self-centred man who longs for stability and warmth in his family but has no idea how to achieve them.

The jewel in the crown of this esteemed cast is Jessica Lange as ethereal beauty Mary Tyrone. Given Lange’s recent television success, the unenlightened could potentially view Lange’s appearance here as stunt casting, but nothing could be further from reality. Willowy tall and strong four decades into her career, Lange owns the stage and completely inhabits the role, which she also played in London’s West End in 2000.

Mary’s white hair piled high on her head, Lange practically shimmers with radiant light. In a superb achievement, Lange makes the cycles of the day abundantly clear, subtly but clearly showing when Mary craves her drug and when she has taken it. We see glimpses of the woman her husband and sons have loved and we share their helpless frustration. Consumed by the haze, Mary’s final whispered prayer to the Virgin Mary is Lange at her finest.

Colby Minifie lends solid support as Cathleen the hard-pressed yet cheery Irish maid.

Set aside a serious amount of time to watch, and later contemplate, Long Day’s Journey Into Night.

Long Day’s Journey Into Night was reviewed 2pm Sunday 3 April 2016 at American Airlines Theatre, New York where it officially opens 27 April 2016 and plays until 26 June 2016.

In an unforgettable night of glorious music, The Light in the Piazza 10^th Anniversary Reunion Concert reassembled the original cast of one of Broadway’s most cherished musicals.

The 2004-2005 Broadway season was a special one, producing four Best Musical Tony Award nominees that were all hits in their own right. The Light in the Piazza won six Tony Awards, including Best Actress (Victoria Clark) and Best Score (Adam Guettel).

The new musical was the first project directed by Bartlett Sher at Lincoln Center, and led to subsequent productions of South Pacific and The King and I for Sher and his Tony-winning collaborators Michael Yeargen (scenic design) and Catherine Zuber (costume design). In the program for the current Broadway revival of Fiddler on the Roof, Sheldon Harnick traces Sher’s involvement back to The Light in The Piazza. Sher is now Resident Director at Lincoln Center.

Abundantly overflowing with magical moments and memorable melodies, The Light in the Piazza is remembered with great fondness by all who saw it. For what seemed a chamber musical, Yeargen’s scenic design for the original staging was surprisingly grand in scope. Stripped of this spectacle, the piece works beautifully well as a concert presentation, allowing an even more intimate examination of the sharply drawn characters whose lives intertwined one fateful summer in 1953 Florence.

As concerts go, this was a generous, carefully prepared performance. Under Sher’s direction, the cast moved about and interacted on the large stage space in front of their chairs. Scripts were occasionally referred to in book scenes, but all performers knew their music by heart. The result was as thorough and lively a performance as one could possibly hope to see.

The rich, lavish set of The King and I gave the concert a glamorous setting to complement the special occasion.

Hearing Guettel’s exquisite score played by a 24-piece orchestra on stage was a real luxury. Original music director Ted Sperling conducted the performance.

Looking like they have been drinking exclusively from the fountain of youth, the cast looked and sounded fabulous. Even the original ensemble members returned, and although they were not given quite as much to do, they performed with flair and beamed with pride at being part of the special event.

Dressed in a chic red satin cocktail dress (that brought to mind her original costume), Victoria Clark revisited the compelling journey of protective, conservative mother Margaret Johnson, who examines her own life and marriage while gradually loosening the tight reins she has placed on her special daughter. Clark still had the audience in the palm of her hand with those special glances and asides that take us into Margaret’s confidence. Each of her big songs sounded glorious, with 11 o’clock number “Fable” remaining the jewel in the crown.

Winning her first Tony Award last year (on her sixth nomination), Kelli O’Hara is Broadway’s reigning leading lady, currently playing Anna Leonowens on this stage. Retaining a sweet, fresh appearance, O’Hara still looks younger than 26 as Clara Johnson, and her singing is divine. Soaring ballad “The Light in the Piazza,” heard early in act two, absolutely brought the house down.

Matthew Morrison is also still convincing as a love-struck youth, and his singing voice sounds richer and more confident than ever. Morrison is a charismatic, engaging performer, and he delivered his full complement of charm at this concert. Calming Clara down before the wedding, Morrison’s delivery of Fabrizio’s “Love to Me” is a heaven-sent lullaby.

Hearing all the Italian language again, and noting the absence of surtitles, one is reminded of what a leap of faith the authors took by treating the audience’s intelligence with all too rarely seen respect.

A little age brought Mark Harelik even more patriarchal authority as Signor Naccarelli, Fabrizio’s father. Patti Cohenour delighted again with the moment Signora Naccarelli breaks her silence and addresses the audience in English.

Michael Berresse recaptured the fancy footwork of womanising husband Giuseppe Naccarelli. Looking a million dollars in a canary yellow short lace dress, Sarah Uriarte Berry conveyed the fiery passion of Franca Naccarelli, Giuseppe’s unjustly neglected wife.

Everyone involved in the concert and those who work at Lincoln Center have the audience’s undying gratitude for this wonderful evening.

The Light in the Piazza 10^th Anniversary Reunion Concert was held 6.30pm Monday 4 April 2016 at Vivian Beaumont Theatre, Lincoln Center, New York.

Photos: Simon Parris

Scaled down to its very essence, the first Broadway revival of The Color Purple is a life-affirming joy and the singing is out of this world.

To have Jennifer Hudson on the Broadway stage is miracle enough, but the additional presence of human dynamo Cynthia Erivo in the lead role is the one-two punch that makes this show a knockout.

With a volume that is completely at odds with her petite frame, Erivo brings down the house time and again, earning a standing ovation before the final curtain with Miss Celie’s joyous anthem “I’m Here.” The audience’s enthusiasm and affection are amplified by Erivo’s superb performance as the evening builds to that incredible 11 o’clock number. With little or no affectation, Erivo conveys Celie’s inspirational journey from broken, depressed young woman to successful, contented older woman. As Celie’s arc progresses, Erivo subtly changes her stance, her body language, her facial expression and more. By the time Celie finds the courage to reclaim her life and happiness, the audience is whooping with joy.

Aiding Erivo’s connection with the audience is the lack of extraneous production elements. Impressively lavish as it was at the time, it is clear, upon reflection, that the original Broadway production of The Color Purple was somewhat overproduced. Reduced to a thatched rear wooden wall and multiple wooden chairs, the focus is entirely on the show and it certainly holds up brilliantly.

The current production is also streamlined, compared to the original, in terms of running time and cast size. The reductions brings a couple of limitations. With no changes of wigs or makeup, the passage of forty years of time is not overly clear. While the lead roles are distinctive, the movement of ensemble members in and out of supporting roles is occasionally confusing; at times it seems that director John Doyle is relying on audience knowledge of the story.

The costumes are less detailed in this production, and, while the design initially seems drab, Ann Hould-Ward’s master plan is eventually revealed. Shug Avery’s arrival stands out because she brings the first splash of colour to the stage. Celie is intoxicated by this colour, and by the person who is wearing these glamorous outfits. As act two progresses, Celie begins making her famous pants, and soon the stage is filled with a rainbow of bright colour as each character makes peace with their life and finds happiness.

Looking absolutely divine, Hudson is a compelling presence on stage. A strong actress, Hudson maintains Shug Avery’s simmering vulnerability and self-doubt beneath the glamorous trappings of her lifestyle and the adoration she attracts from one and all. “Push da Button” is a lively showstopper in act one, and Hudson scores again with the exquisite title song, “The Color Purple,” early in act two.

With her gorgeous wide smile, Danielle Brooks brings an engaging warmth to Sofia. She has the audience whooping and hollering with Sofia’s anthem “Hell No!”. With no special makeup or fake blood, Brooks does an incredible job of portraying Sofia’s damaged face and body after she has been repeatedly beaten in jail. Finally, Sofia’s giggling return from her deep funk is a moment of sheer joy.

Kyle Scatliffe has the requisite sweetness of loveable Harpo. Isaiah Johnson could definitely have used some aging makeup as Mister, still looking very virile after forty years have passed. Johnson is not quite harsh enough in the role, but his performance of the redeemed Mister is touching nonetheless.

As Celie’s sister Nettie, Joaquina Kalukango has the least interesting arc (and wears the same costume for the whole show) but her singing is sweet and strong.

In the end, this is Erivo’s show. Expect to see her in another (and another) before too long at all.

The Color Purple was reviewed 7pm Tuesday 5 April 2016 at Bernard B. Jacobs Theatre, New York.

Photos: Matthew Murphy

Little remains to be said about the success of Broadway mega-smash hit Hamilton, but does it hold up when viewed under the weight of extraordinarily high expectations?

The answer is a resounding yes. Casting, choreography and costuming are just some of the creative aspects that take Hamilton beyond the quality and innovation of the majority of other Broadway shows.

The first surprise is how quietly the actors sing at certain times. When the lights go down, the audience screams like they are at a rock concert and then Leslie Odom, Jr begins in almost whispered tones, forcing the audience to hush and concentrate carefully. The music builds, especially in full company numbers, but the vibe is often soft, expressive singing. Showstoppers, such as act one’s lively battle of “Yorktown,” reach a louder volume.

The sophistication of Paul Tazewell’s costume design can really only be fully appreciated when watching the entire show. The modern twists on period looks are stunning, but the clever part is the way costumes help frame the scenes. Each member of the company begins in neutral cream-coloured garb and then puts on coloured items as they play featured roles throughout the story. The pale pastel shades of the Schuyler sisters’ satin dresses are gorgeous; the colours remain while the designs cleverly change in fashion with the passing years. The lead men move from rich autumnal tones to fresher spring tones, with the amount of luxurious velvet and silk increasing as the characters’, and the country’s, prosperity increases.

The relative simplicity of David Korins’ two-level wooden set is more than compensated by the spectacular colour and dynamics of Howell Binkley’s lighting design. A highlight of Binkley’s work is the beautiful coloured patterns he creates on the stage floor.

Andy Blankenbuehler has developed a finely detailed vocabulary of dance for the non-naturalistic choreography. Full company work is astounding as every performer has their own movements. Controlled use of body angles and tight pulsing rhythms create fascinating visual pictures. Placement and removal of props is also performed in a tightly choreographed manner by the ensemble.

At this point of the run, the original cast is absolutely on fire in each of their respective performances. Director Thomas Kail has brought out an exciting energy and performance style to complement the funky sound of Lin-Manuel Miranda’s highly original score. Miranda’s book, based on the novel Alexander Hamilton by Ron Chernov, is swift and epic in scope, particularly as compared to the gentle pace of In The Heights. Being almost sung-though gives the work a continuous feel, but Kail has worked to give each new number a distinctive feel and look to help the storytelling progress clearly.

Awareness of the score in advance is an asset, but hearing Miranda’s super fast lyrics and complex internal rhymes live is a great aid to fully understanding and appreciating the text. Miranda’s awareness of the work in the history of music theatre is made clear by the snatches of lyrics from The Pirates of Penzance, South Pacific and 1776.

The intertwined rivalry of Hamilton and Burr at first brings to mind Javert’s relentless pursuit of Valjean in Les Misérables, but, on further thought, the pair more closely resembles Salieri and Mozart from Amadeus. In this version, however, gifted leader Hamilton (Mozart) is the hero and Burr (lesser composer Salieri) is merely a bitterly jealous compatriot.

Miranda takes the chance to make two very brief but salient political points. In act one there is a reference to immigrants reliably getting the job done. In act two, a reference to the US not always being involved in all world conflicts brings a quick cheer.

At the first performance I attended, Miranda was taking a well-deserved week’s vacation and I was fortunate enough to see long-time alternate Javier Muñoz in the title role. A strong actor, Muñoz has a kind and gentle style that brings additional sympathy to the man who contributed so greatly to his young country’s growth and success.

Miranda had returned for the second performance I attended. The audience response to Miranda’s first appearance on stage is massive but he quickly moves on with the show. It is wonderful to see Miranda perform his own lyrics, especially the special moments where adds the hint of a cheeky grin. Thin metal-rimmed glasses make a big difference to Miranda’s face, giving the gravitas the character needs as he rises in importance.

Each member of the supporting cast has clearly been carefully selected for their roles. Before seeing the show live, I was unaware of the number of lead cast who played dual roles. With the progression of time, the second act sees a number of new characters join the story.

A particular standout for his infectious energy and dazzling style is Daveed Diggs, who first plays the toffy, high-spirited Marquis de Lafayette and returns after interval as America’s third President, driven leader Thomas Jefferson.

Odom, Jr maintains an intense focus as frustrated lawyer and politician Aaron Burr, showing the humanity of the character through his loves but never allowing any maudlin sympathy to creep into his approach.

Anthony Ramos is strong as noble John Laurens but is really adorable, and heartbreaking, as Hamilton’s young son Philip.

Most heartbreaking of all is the tender work of Phillipa Soo as dear Eliza Hamilton (nee Schuyler) as she bravely finishes the story in the final number.

Experienced performer Renée Elise Goldsberry portrays Angelica Schuyler’s reckless youth before bringing a centred maturity to the character in later life. Goldsberry’s diction and expression are impeccable. In an immediate flashback sequence following the whirlwind courtship and highly stylised wedding of Hamilton and Eliza, Angelica shares her point of view in “Satisfied,” a number that Goldsberry performs brilliantly, rap and all.

Christopher Jackson, who was also an original cast member of In The Heights, use his height and strong presence to make Washington a real hero. Jackson’s performance of Washington’s soaring final number, “One Last Time,” makes it a fitting finale for the character.

Regally resplendent in red and gold satin, Jonathan Groff brings welcome moments of finely honed comic relief whenever he appears as haughty monarch King George, who is presented much in the same vein as Hitler in The Producers.

I booked nine months in advance for Hamilton. Similar dedication in keen ticket buyers is strongly encouraged as the outcome is extremely rewarding.

Hamilton was reviewed 2pm 30 March 2016 and 2pm 6 April 2016 at Richard Rodgers Theatre, New York.

Photos: Joan Marcus

An all-star lead cast, stunning costumes and sensational tap choreography provide plenty of entertainment, but, despite all this razzle dazzle, Shuffle Along never really takes flight.

Firstly, it is important to mention that this performance was a (full price) preview and there was no out of town or off-Broadway or subsidised theatre tryout.

Secondly, the full title needs to be listed, as it makes clear that this is far from a simple revival: Shuffle Along, or, The Making of the Musical Sensation of 1921 and All That Followed.

Think of the show as a cross between 42^nd Street and Jersey Boys. Director George C. Wolfe has written a new book that tells the story of the creation of the musical Shuffle Along, celebrates it success, then charts the subsequent disappointment and regret of its creators, who never again captured that lightning in a bottle of Shuffle Along’s extraordinary success.

The four creators seek backers, then take the show out of town for tryouts before finally landing a New York venue. Building in scale throughout act one, the peak of Shuffle Along’s on stage success is shown in the dazzling act one finale, “I’m Just Wild About Harry.” Celebrities flock to see the show, and the creators splash their profits on luxury goods. The stars of the show are in demand up town and down. Believing too strongly in their own powers and importance, the quartet of creators becomes two duos, then each duo splits, sabotaging the chance of any further successes.

Each of the five lead performers has significant Broadway credits, so to see them all working together is a thing of beauty. The comedians who wrote the book for Shuffle Along are played by Brian Stokes Mitchell (F. E. Miller) and Billy Porter (Aubrey Lyles). The composers, who, like the writers, had worked in vaudeville are played by Joshua Henry (Noble Sissie) and Brandon Victor Dixon (Eubie Blake).

Mitchell leads a powerful choral number in act one, singing a capella all the way through “Swing Along.” In his big act two number, Mitchell portrays Miller’s on-stage breakdown when abandoned by partner Lyles.

Porter gets the best male costumes as Lyles, who is as flamboyant as one could safely be in the 1920s. Porter’s big song before he leaves for Liberia showcases the incredibly powerful belt of his singing voice.

Revered Broadway leading lady Audra McDonald is in full goddess mode as the talented, but insecure, performer Lottie Gee. As Gee learns new songs, helps new artists, and falls in and out of love, there is no doubting McDonald’s superb acting skills. She proves a talented dancer in this show as well, and, of course, delivers exquisite vocals. Gee has an on-stage breakdown of her own, and McDonald transforms a simple charm song into an 11 o’clock torch song.

Henry and Dixon are excellent in all aspects, but do not quite get the showcase moments afforded to their co-stars.

For most of the show, the ensemble barely has a minute’s break, performing Savion Glover’s brilliant tap choreography in number after number. The tap dancing is sensational enough that aficionados could attend just to watch the incredible dancing of the cast. A fun use of tap comes in act two when each pair of writers has created a new show and the chorus kids from each have a tap-off to represent the rivalry between the shows (sadly, neither was a hit).

Ann Roth’s costumes are a spectacle unto themselves. Chorus outfits are witty and eye-catching. The all-white act one finale is a real highlight. The four creator’s new coats in act two say everything about their change of lifestyle after the success of the show. McDonald has plenty of outfits, with her initial midnight blue velvet gown being a standout.

Santo Loquasto’s scenic design takes an odd turn in act two. Initially, there are rehearsal rooms then the simple sets of 1921. After interval, there are large backlit glossy panels of city skyline that seem out of period and budget of the core show.

While the drama of watching a rock band implode has its inherent schadenfreude, the drama goes too far here when later revivals of Shuffle Along are attacked and denigrated. Also, one can safely presume that these real life characters from the 1920s are no longer with us, so to hear about each of their deaths is quite tedious. The material does not really stand up to a running time of three hours. It will be interesting to see how the show is received when it officially opens.

Shuffle Along was reviewed 8pm 6 April 2016 at Music Box Theatre, New York where it opens 28 April 2016.

Showcasing the stunning talents of leading lady Jessica Pratt, Victorian Opera presents a highly traditional new staging of Donizetti’s classic bloodbath Lucia di Lammermoor.

The conventional, respectful nature of this handsome production is in sharp relief to the controversy this past week over Royal Opera’s grisly, explicit new staging.

West Australian Opera mounted this work in 2012, recreating the set designs of Henry Bardon and the costume designs of Michael Stennett from Opera Australia’s 1980 production. With the black side tabs removed, the stage of Her Majesty’s looks impressively vast, the multi-level performance space filled with gothic pillars and a grand curved staircase. The scenic elements are reconfigured quickly and efficiently for each scene, creating ample visual interest as the opera proceeds.

Donn Byrne’s lighting design heightens the gothic mood considerably, using shadow and light, and plenty of haze, to create an eerie atmosphere. When Lucia makes her first entrance, through the thick mist down the steps to the fountain, it is a beautiful sight.

Stennett’s costumes are on a grand scale, with period and ornamental detail fully realised. The dark green and red Lammermoor tartan is seen on the Ashton men and women, with a different tartan conspicuous on members of Arturo’s family at the wedding. Lucia wears sumptuous gowns, but the men are equally well dressed, with Lucia’s love Edgardo looking noble in decorative black leather and groom Arturo looking fetching fey in powder blue suit and feathered hat.

Maestro Richard Mills, artistic director of Victorian Opera, leads Orchestra Victoria in a fine performance of Donizetti’s richly melodious score. At the top of the night, Mills silences and focuses the audience with the softest brass and timpani playing, the music ominously suggesting the distant hunt for Lammermoor intruder Edgardo. The passage of sound in Her Majesty’s allows a pleasant balance between instrumental and vocal music, although there is a slightly dry, raw tendency to sound in the venue rather than the more resonant sound of an opera house or concert hall.

While the opening scene of the Lammermoor men hunting for the intruder is somewhat stiff and static, the ensemble work improves with the full complement of men and women at the wedding. Preparation of chorus singing is first rate, and their combined work is as strong and as valuable as any of the soloists. The festive dancing at the start of act three creates a contrast to the chilling news delivered by Raimondo.

Director Cameron Menzies distinguishes the lead characters broadly and distinctly while also adding nuances to the psychological drama. Pratt is a talented actress, and under Menzies’ direction she is able to clearly convey Lucia’s unravelling mind under the duress of the forged letter from her true love and her arranged marriage to a neighboring landowner. In the famous mad scene, Pratt shows Lucia to be lost in her own world, dancing giddily, thinking pensively, sighting and hearing the ghost as she sings a call and answer duet with it. Menzies has Pratt make ghoulish use of the bloodied wedding veil, with Lucia draping it back and forth over her head as she sings.

In her third Melbourne appearance in three years, Pratt again demonstrates the remarkable strength of her altissimi notes. She begins the evening wisely holding some power in reserve as she charms the audience with the carefree Lucia’s lovely singing by the fountain. A hallmark of Menzies’ direction is the thoughtful use of musical interludes, and Pratt benefits from this, moving naturally to new stage positions and arrangements each time.

Pratt builds throughout the night, dazzling with the full complement of interpolated high notes. Her mad scene is utterly spellbinding; the stage is full of wedding guests but every eye is on Pratt. Her coloratura includes some traditional phrases as well as some that are special to her performance. Variety of dynamics, range and style are carefully planned allowing for a seemingly effortless performance that fully lives up to the high expectations.

Pratt is well matched with burgeoning tenor Carlos E. Bárcenas, a former Developing Artist of Victorian Opera who makes a well-deserved debut in the lead male role of Edgardo. While Bárcenas has some room to grow in terms of developing a relaxed and fluent acting style, he is vocally assured in the role, with impressive security in his upper register. Bárcenas matches Pratt with the interpolated high notes, and the pair sound delightful singing the well-known duet “Ah! Verranno a te sull’aure.”

Appearing years younger with a lush wig, José Carbó presents the manipulative determination of Enrico without melodramatic villainous flourishes. Menzies gives Enrico a sympathetic edge by having him let down his hyper-masculine guard by begging on his knees to Lucia for her cooperation in the wedding. Carbo sinks under pitch slightly in early singing, creating a robust and heroic sound overall.

Commanding bass Jud Arthur brings authority and gravitas to chaplain Raimondo, singing with reliable precision and focus.

Michael Lapiña makes a strong impression as huntsman Normanno, making good use of the resounding quality of his pure tenor voice and exhibiting lively facial expression.

In a highly auspicious professional debut, Shakira Tsindos lends strong support as Lucia’s maid and companion Alisa, more than holding her own as she sings with Pratt in act one.

Michael Petruccelli sings with a sweet, high tone in the brief appearance of ill-fated groom Arturo.

While Victorian Opera are more closely associated with innovation and edgy performance styles, this fully fledged staging shows the depth of variety and talent in the company. Lucia di Lammermoor is a welcome event in Melbourne’s opera, and opera lovers will need little encouragement to make sure that they do not miss Pratt’s stunning performance in her signature role.

Lucia di Lammermoor plays at Her Majesty’s Theatre, Melbourne until

The Lucia di Lammermoor program can be read online.

Photos: Jeff Busby